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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Panasonic GH5 gets a kick in the pants, firmware update coming. And YI 4k+ 4kp60.

One or two of those will answer something different than asked, and it is useless asking them twice. Now, if it was as you say you should be able to personally name hundreds from experience.

Footage from a prototype, this is craftcamera we are talking about, not Sony where you can find reviews a month or two before release. They couldn't even figure out to put out a press release saying it's been delayed, or what happened. Diffetent groups realise different ways. So, admittedly, it doesn't look good. :(
 
Yeah Eduardo, students.

It hard to tell what its shot on because its a Sony sensor, like many cameras. If you are viewing a HDTV free to air signal its degraded past the GH4. I'm watching Netflix at the moment and the rendering and sound reminds me of next generation of vhs. However, for cinema, and formats with actual quality that's different (not even 12 bits, and high speed 4k action in 12 bits) at which stage you get compromise. Believe me, I'd rather watch actual quality and 600k title at double the price than this. Shame redray didn't cone through. We should have 50mb/s redray Netflix for $20.
 
Wayne Morellini said:
One or two of those will answer something different than asked, and it is useless asking them twice. Now, if it was as you say you should be able to personally name hundreds from experience.

Footage from a prototype, this is craftcamera we are talking about, not Sony where you can find reviews a month or two before release. They couldn't even figure out to put out a press release saying it's been delayed, or what happened. Diffetent groups realise different ways. So, admittedly, it doesn't look good. :(
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You want a list of 100 people that have given me advice on here? Seriously? I simple look through my post history could confirm it.


Perhaps it is more that people don't want to give YOU advice ;)
 
Eduardo_Gonzalez said:
We have a deposit on our first RED. While I'm sure many of you who have owned these cameras and done some amazing professional work, this message is just for the cynics. A show, a really good friend of mine just finished was entirely shot on the GH4. There were Alexa and RED users (cinematographers) who were shown episodes. They couldn't tell what it was shot on. They thought it was amazing. I don't understand where the cynicism comes from. There were those who started somewhere right? Well we had junk as starting cameras not too long ago. The young ones up and coming right now have a 4k60p camera that will do 422 internally soon for less than $2000.00. I have 17-20 year olds right now that are wanting to get into the business. I'm very happy for them that now I can recommend a GH5 as their first camera. I had to wait until post college to actually start getting into semi professional work. The price was too high. This is incredibly impressive. As for RED. Most humans couldn't even look at the Epic when it was the cheapest thing out there. Now thanks to progress, we have the Raven and Scarlet-W. It's within reach for a lot more people. That's amazing. I really think it all boils down to what you are shooting. But kudos to progress on all sides.
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1000% this.


There have been plenty of TV drmas and movies released over the years shot on far less powerful tools than the GH5. There's no excuse about technology in terms of people being able to do great work on tiny budgets. Exciting times we live in!
 
The more good cameras the better.

That said, I think there's confusion often when talking about lower budget cameras.

If you have a well lit, great looking scene, it willl most likely look "good" on any camera - even an Iphone. The challenge there is obviously to reach a level technically where you can do that (as a DP or creative unit) - light a great scene.This has nothing todo with a camera.

In fact a more expensive camera will generally just give you more lattitude in post to make this already good scene even better, and perhaps great.

However where expensive or "Pro" cameras shine is when things go bad or conditions are tough. Uncontrollable highlights. Low light. Or...both.

On an expensive shoot, that can't he redone, thats where the more PRO cameras are relied on - and become more a necessity.

But yes, on a well done project, you may often be hard pressed to notice the difference.

Cameras of all budgets are tools. Its important to use them well, and to know their strengths.
 
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I have preordered GH5.
BUT
I am yet to see decent footage from GH5. I have no idea WHY Panasonic give camera to Crapy Cameramen to shoot with it and upload it on Internet, Some really really crap footage...
 
Nick Morrison said:
The more good cameras the better.

That said, I think there's confusion often when talking about lower budget cameras.

If you have a well lit, great looking scene, it willl most likely look "good" on any camera - even an Iphone. The challenge there is obviously to reach a level technically where you can do that (as a DP or creative unit) - light a great scene.This has nothing todo with a camera.

In fact a more expensive camera will generally just give you more lattitude in post to make this already good scene even better, and perhaps great.

However where expensive or "Pro" cameras shine is when things go bad or conditions are tough. Uncontrollable highlights. Low light. Or...both.

On an expensive shoot, that can't he redone, thats where the more PRO cameras are relied on - and become more a necessity.

But yes, on a well done project, you may often be hard pressed to notice the difference.

Cameras of all budgets are tools. Its important to use them well, and to know their strengths.
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I kind of disagree, honestly a better camera allows you to paint a better picture. Fighting to save high lights and shadows during production is annoying when you know you could push the image more if you had a better camera. I tend to think a solid 12+ stops is the turning point. You don't have to fight as much to keep everything exposed correctly and you can have a wide range in your shot.
 
Darren Orange said:
I kind of disagree, honestly a better camera allows you to paint a better picture. Fighting to save high lights and shadows during production is annoying when you know you could push the image more if you had a better camera. I tend to think a solid 12+ stops is the turning point. You don't have to fight as much to keep everything exposed correctly and you can have a wide range in your shot.
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I was trying to be kind.

My point is, in a good looking environment, the differences are less obvious - until you go into the grade.

But you can do a lot of great work with a GH5, or a used Red One MX for that matter, or so many other options that don't cost 30-50K.

But in the end, nothing replaces the skill of the TEAM making these images.
 
Jiri Vrozina said:
I have preordered GH5.
BUT
I am yet to see decent footage from GH5. I have no idea WHY Panasonic give camera to Crapy Cameramen to shoot with it and upload it on Internet, Some really really crap footage...
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Um... Red shooter Luke Neuman shot this and I thought it was fantastic. Be careful of broad brushing the skills of other artists out there with your own opinion.


https://www.youtube.com/watch?v=00AFU9IVQf0

EDIT: I see Luke has come to his own defense.

Honest truth. The day I saw this footage was the day I put my Red up for sale. Luke still shoots Red and his own opinion is that keeping his Red is necessary. For me, the GH5 is all I need... for now :)
 
Thanks Andy and Nick...I am fine with people having their own opinions on the footage but if you talk shit you'd better be able to back it up and show some footage to me, that is better. I'd be honest enough to admit defeat.

I just don't get how some creatives can treat other fellow creatives like that, even if he wasn't talking about our video or me specifically...you just don't say that shit about other people in your industry.
 
Nick Morrison said:
I was trying to be kind.

My point is, in a good looking environment, the differences are less obvious - until you go into the grade.

But you can do a lot of great work with a GH5, or a used Red One MX for that matter, or so many other options that don't cost 30-50K.

But in the end, nothing replaces the skill of the TEAM making these images.
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Exactly. Not every scene is 15+ stops of dynamic range and starved of light. An iphone looks great within its goldilocks zone. Doesn't mean it is as good as a Red.
 
Luke Neumann said:
Thanks Andy and Nick...I am fine with people having their own opinions on the footage but if you talk shit you'd better be able to back it up and show some footage to me, that is better. I'd be honest enough to admit defeat.

I just don't get how some creatives can treat other fellow creatives like that, even if he wasn't talking about our video or me specifically...you just don't say that shit about other people in your industry.
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Luke, you're so talented it wouldn't matter what anyone said - you're clearly so passionate, you're just going to keep doing what you're doing anyway (which is making great shit).

Which is Im sure why Panasonic asked you to work with them in the first place.

I believe in talent - and hard work. And you clearly have both. And it shows.

These things have a funny way of working themselves out in the wash.

Im looking forward to seeing you growing - on the big screen, and beyond.

Comments are easy. Doing the work? Not so much.

Luckily you've always been on the right side of that equation.

#keepcrushingit
 
Ben Scott said:
Nick angling for a discounted GH5 there ;)
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Haha - I wish.

I'm just a big fan of a supportive community. I also genuinely don't appreciate when good people, and good work, get discarded so easily.

What we all do is hard.

There's a reason we don't have desk jobs.

A little support and reassurance can go a long way, for all of us - me included!
 
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